"Breakfast At Tiffany's", Glasgow Theatre Royal, 26/5/16

Richard Greenberg's adaptation of Truman Capote's famous novella was first seen on Broadway in 2013 and was the second attempt at a staging by director Sean Mathias (the first, in London's West End in 2009, was written by Samuel Adamson) and neither production proved to be what one would consider a success, leading others to speculate that perhaps the story is one of those which doesn't translate adequately to the stage. This new production by the Curve Theatre, Leicester, may have the doubters proclaiming they were correct although, in reality, there are glimmers throughout that illustrate the true potential of the play.

Greenberg's script is clunky in places and really could do with some trimming although the devices he utilises work well, including much of the narration by the character 'Fred'; such a device could have come across as stale but director Nikolai Foster is adept at making it anything but. 

Foster is a director who works with his designers to create a fluidity onstage that is pleasing to the eye and the lighting and set design are positive additions to the production and raise the standard of the entire production.

The cast are uniformly quite excellent, including Matt Barber as 'Fred', with the only exception, sadly, being the actress playing the major role of 'Holly Golightly'. It may be an unfortunate side-effect of casting several actresses in the role for the duration of the tour, but Emily Atack, whilst attractive to look at, lacks the depth required for the pivotal role and she comes over as somewhat under-rehearsed, lacking in confidence and it feels she may be overwhelmed with the demands of the role. Her performance is two-dimensional with not enough variety to give it the edge required. She does, though, offer glimpses of her potential in the role but she fails to take full advantage when these crop up. Her singing voice is delicate and sometimes fragile, not inappropriate to the character, but the fact that three songs are plonked almost randomly throughout the script means they serve no purpose whatsoever, save to placate the audience expectation that they'll hear the famous 'Moon River' which was composed for the film adaptation of the novella.

It should be said that Greenberg's adaptation is based on the book rather than the film and so the play is more layered and multi-faceted creating a grittier, darker plot within a grimmer New York than that portrayed in the movie. This, ultimately, creates a more interesting drama and, given a tighter reworking by the author and a more competent lead, shows this particular adaptation has some real potential.

"Joseph And The Amazing Technicolor Dreamcoat", Glasgow King's Theatre, 10/5/16

Written for Backstage Pass:

http://www.backstagepass.biz/2016/05/theatre-review-joseph-and-amazing.html

Vibrant, vivacious and joyous Joseph and the Amazing Technicolor Dreamcoat explodes onto the Glasgow stage in Bill Kenwright's perennial touring production of Andrew Lloyd Webber and Tim Rice's timeless musical, their first to ever be publicly performed.

Since its premiere on the stage of Colet Court School in 1968 as a 20 minute cantata "Joseph ..." has been expanded over the years to a full blown musical entertainment; its inherent simplicity, catchy pastiche-laden score, humorous lyrics and the familiarity of one of the most famous stories of the Old Testament all coalesce to create one of the most popular pieces of musical theatre ever. In fact there can be few people left in the western world who is not aware of "Joseph ..." or who has not heard at least one of its musical numbers.

Tim Rice's lyrical talents are on full show in this production as is Lloyd Webber's inherent melodic knack and Kenwright directs a production that is full of life and wit, almost perfectly complimenting the musical material. "Joseph ..." is certainly Kenwright's most directorially triumphant production, no doubt aided by Henry Metcalfe's choreography which is equally in tune with the comedic, ebullient nature of the show and full of vigour and energy.

There are some transitions that threaten to halt the show's flow and which should be worked into the production proper whilst there is also some stage business that is little more than filler - as if to beef up the running time of a show which is, in reality, still a relatively short one.

The same could be said of some musical moments where sequences are slowed down unnecessarily causing the rhythm of the show to drag and, where lyrics are sung, potentially damaging some of the many lyrical witticisms of Rice.

Sean Cavanagh's design is ostensibly the same that has been used over several decades but it is, in its present incarnation, a more detailed and colourful affair and the lighting  of Nick Richings is perfectly attuned to the rich, bright production.

The sound design of Dan Samson and the musical direction of Kelvin Towse is also to be complimented and it is unfortunate that Kenwright, again, fails to credit the orchestra given the importance that musicians play in a musical but this oversight is easily corrected and will hopefully be rectified in the near future.

Bill Kenwright has assembled a truly top-notch cast for this present incarnation of his most famous production; replete with a high energy, diverse cast who sing and move with gusto. Emiliano Stamatakis makes his UK premiere in the Elvis-inspired role of "Pharaoh" and he is an attractive, engaging performer with plenty of sexual charm appropriate to the part. Lucy Kay, as the "Narrator", stuns with a powerful voice, showcasing a belt worthy of the most hardened of Broadway performers. She imbues the role with the warmth and allure necessary as the story-teller of the evening.

Of all the roles in musical theatre Joseph is not the most demanding of acting roles but it is a difficult role to pull off nonetheless as what little he is given has to convey so much; Joseph starts out as an arrogant, vain, pain-in-the-proverbial but he must still be able to attract sympathy from his audience. He must be seen to learn from his experiences and to come to feel empathy and compassion for others. In Joe McElderry, Kenwright has found someone who has a natural charm and likeability matched with a winning personality and affability that is quite perfect for the part. With his naturally pleasing smile and his truly strong vocals McElderry is a performer who engages the audience from the off and his powerful voice belies his stature. This has to be one of the most strongly cast companies in any production at present.

Powerful, radiant, energetic and vividly arresting Joseph and the Amazing Technicolor Dreamcoat defies all expectations in a production that rejuvenates a stalwart of the touring scene thanks to a superb cast and a creative team who appear to defy the temptation to rest on their laurels. A wonderfully glorious production!

"Tell Me On A Sunday", Edinburgh Playhouse, 9/5/16

Andrew Lloyd Webber and Don Black's 1980 song cycle about the unfortunate love life of an English girl in New York is making the rounds in a sporadic tour of one-night-only appearances featuring Jodie Prenger as the sole onstage performer. 

"Tell Me On A Sunday" was originally an album and television special featuring Marti Webb as the unnamed woman and was then expanded and coupled together to create "Song and Dance", billed as a "concert for the theatre", which premiered in London's West End in 1982. With each successive performer small changes were made until the piece made it to Broadway in 1985 in a substantially re-written version which originally starred Bernadette Peters in the role which came to be named "Emma"; a name the current creative team have adopted for this current tour, although the name is never mentioned onstage.

This current production is primarily based on the original 1980 album albeit with some of the additions made for the 1982 "Song and Dance" West End production together with a couple of the songs written for the 2003 West End production of "Tell Me On A Sunday" which was especially expanded as a stand-alone piece for performer Denise Van Outen.

Returning the play to its (nearly) original format allows its original simplicity and emotion-focused content to shine. The additional songs used are carefully chosen to compliment the original material and the creative team wisely dispensed with some of the more questionable additions made for the 2003 version. It also returns the show to its original time period of the early 1980s.

The four piece band produces a perfectly adequate and lovely sound although the 1980s orchestration of electronic piano etc., a sound I distinctly think of as "1980s", was missed - but only slightly.

The setting by David Woodhead and lighting by Howard Hudson are simple with the band tucked behind an array of New York skyline buildings (including the Empire State and World Trade buildings, together with the Statue of Liberty) which reminded me of the original "Song and Dance" design, though here they were three dimensional constructions rather than prints on flats.

This simple design allows all focus to shine on Prenger and she doesn't fail to deliver. Prenger's voice handles the material almost effortlessly and she even shows a softer, gentler, voice that one doesn't expect from someone known for her strong, belt voice. She manages to act convincingly throughout, consistently focusing on the invisible people her character reacts to and interacts with. Along the way the audience never doubt her actions or intentions and have no difficulty in making out what is happening onstage (a potential hazard for a one person show).

The direction by Paul Foster is relatively simple, as one should expect, but it is clean and clear as is the musical direction and the only thing that niggles is a few transitions between songs, where "Emma" leaves the stage only to reappear a few moments later in a new costume, which almost become dead space. Thankfully Prenger is always in character and never allows the audience to drop their attention.

With a running time of little over an hour and given the choice not to incorporate most of the additional material to increase the running length, we are given a small question and answer session with Prenger in the second half of the evening (following an interval, of course) where she also sings  a handful of songs, including a duet with her standby, Jodie Beth Meyer, a most generous act which allows the audience to hear another lovely voice onstage. Prenger also gives us a chance to hear "Unexpected Song", which was a later addition to "Song and Dance" and which does not appear as part of this production of "Tell Me On A Sunday" - frankly a bit of an error on the creatives' part, which Prenger pulls off with aplomb.

Given the rather hap-hazard nature of this tour it was still a little surprising that such a small and intimate production should appear at the cavernous Edinburgh Playhouse where it could easily be lost. That the audience was only half-full speaks volume about the choice of theatre and the choice to put it on on a Monday evening which is not usually the most popular of nights.

That said this is still a surprisingly strong production and a most pleasant way to spend an evening so if you get the chance do go see it.

"Save The Last Dance For Me", Glasgow King's Theatre, 3/5/16

Written for Backstage Pass:

http://www.backstagepass.biz/2016/05/theatre-review-save-last-dance-for-me.html

Following the success of the jukebox musical Dreamboats and Petticoats, Bill Kenwright presents another musical utilising the hit songs of a bygone era. Save The Last Dance For Me has a book by famed television writers Laurence Marks and Maurice Gran and centres around two young sisters in the early 60s who embark on a holiday to Lowestoft, without their parents, encountering potential romance along the way. When the younger sister falls for a black soldier stationed at the local US Army base trouble begins to brew.

As a stage musical Save The Last Dance For Me comes across as something of a dual aspect show: There is the concert element with the US band playing and singing on the club stage, which works well, and there is the play element where the plot is grafted between the songs (of which there are far too many), albeit clumsily.

The book by Marks and Gran has some wonderfully funny lines and moments but it is drastically under-developed and the mixed-race relationship subject is treated weakly. It's a subject that needs detailed and thorough work, even in a comedy, and consequence and repercussion are sadly missing from the paper-thin plot. The fact that the numerous songs often have only the slightest relationship to the action or plot and do not evolve out of the spoken dialogue naturally makes for a rather clunky musical construction and one ultimately wonders if there is much point to the plot's existence to begin with.

Bill Kenwright directs the production with a rather uninspired hand and his staging is often surprisingly static and stodgy. The piece could have been 

better structured under a more competent director and the same could be said of the choreography of Bill Deamer whose work seems surprisingly limited here.

The set design by Mark Bailey (who also designed the pleasant costumes) is primarily that of the US base bar and that particular set highlights the onstage band excellently. Most other aspects of the set, however, seem almost to be an afterthought, like much else about this production. The sound design also needs more work because, whilst the band sounds quite brilliant, the vocals are often lost in the bass-heavy sound produced. 

The entire cast make the most of the limited material they are given and there are some truly great voices onstage including that of Lola Saunders as elder sister, Jennifer. Saunders really impresses as the more vivacious sister and she is someone to look out for. Jason Denton's charming Curtis is blessed with a smooth voice and an attractive presence whilst Alan Howell's Carlo is endearing and humorous. Marie, the younger sister, is a sweet and tender role and Elizabeth Carter plays and sings it to near-perfection. 

It's quite stirring that the cast can impress as well as they do with the restricted dialogue they have but there is no-one onstage who gives less than 100% whether singing or not. Former Blue boy-band member Antony Costa, as Milton, is also a pleasing presence and his voice is showcased well. 

The band, who also serve as members of the cast, are wonderful and should be worked into the script more.

It would appear that nostalgia concerts, where original artists (or not) perform a set list of songs from a particular era, are no longer enough and that songs must now serve a function in a larger context instigating the creation of a plot around them. The jukebox musical format has given the public some great success stories (Mamma Mia being perhaps most prominent) and some less successful (Viva Forever, one of the most unfortunate) and Save The Last Dance For Me is evidently one of those that the audience clearly enjoy (they are actively encouraged to sing along) yet it is ultimately a dramatically unsuccessful musical. The plot holds an interesting, yet undeveloped, idea and the songs used do not really serve to move the action forward and there are far too many of them. 

A reworked, song-trimmed, version may be a more intriguing and satisfying production but in its present state Save The Last Dance For Me is a case of go for the songs not for the plot.

Half an hour with "Funny Girl", 28/4/16, Savoy Theatre, London

Following its sold out (in 90 minutes!) run at the Menier Chocolate Factory, "Funny Girl" transferred to the West End's Savoy Theatre in a slightly expanded production. Starring Sheridan Smith, whose name is emblazoned above the title on every advertising board going, the West End production is also very nearly sold out.

Booking a ticket early was essential and this was done last November (the transfer was announced before the Menier run had actually begun) so the wait was a long one. But, only one week following its opening night, the day finally came. Much preparation and cost had gone into seeing the first revival since the original London production back in the 1960s which was the sole purpose of our visit to London. We had to finance the cost of travel to and from London, accommodation for the night whilst there and, of course, the tickets themselves. I absolutely refuse to pay "premium" prices since the very idea is nothing less than a con by money-hungry producers. None the less the cost was not cheap!

So it was we got into London with enough time to check into our hotel and grab a bite to eat before we headed off to the Savoy.

Let me say now that the theatre staff were far more welcoming to us than they had been a year before when we visited the same theatre to see the revival of "Gypsy".

It was interesting to see the variety of merchandise available for the show - t-shirts, mugs, umbrellas, bags etc. Yet "Funny Girl" still had no souvenir brochure on offer!

We settled into our dress circle seats with a great view of the stage with much anticipation.

The lights dimmed and the 13-player orchestra (complete with strings!) struck up with the Overture. The presence of the strings was most welcome, even if the sound remained a little thin.

Smith appeared as "Fanny Brice" and the show started proper. Smith gave Brice a pronounced Bronx accent which appeared to limit her diction somewhat with quite a number of words muffled. This accent also seemed to interfere with her singing which was curt and not always in tune. For certain the final note of "The Greatest Star" was off, yet quite flawless in the brief reprise that soon followed. Smith was certainly amusing in the role, although not outright hilarious, and she was given to acting more like a desperate idiot out for attention (even being rather sexual with some of the male dancers - let's be frank; she was groping their crotches!) rather than a natural comedienne letting her talent speak for her. Given I was not a natural fan of Smith (unlike many I had come for the show) I was actually starting to warm to her and, flaws and all, she was certainly proving that "Funny Girl" need not rely on the spectre of Barbra Streisand.    

The rest of the cast were quite ebullient in their roles but we were sadly given little time to appreciate them as, following Fanny's stage debut with the "Cornet Man" number (another somewhat slogged performance from Smith), immediately following Fanny's introduction to "Nick Arnstein" (a dashing Darius Campbell) and her singing of the twiddly "Nicky Arnstein" lines when the stage was emptied (apparently a simple exit as per usual) when the show suddenly stopped. There was a dead stage for a minute before an announcement was made over the speakers: A technical issue had prompted a brief delay. The safety curtain was lowered.

After 10 minutes or so the front of house manager made an announcement that the delay was taking longer than expected so patrons were free to use the lavatories and bars. 

Audience members became restless not long after and there were some confrontations with the front of house staff. Some irate man was shouting at the young woman at the coat check/merchandise stand. Approximately 30 minutes later the dreaded announcement was made that due to "Technical Difficulties" the show had to be cancelled. This was greeted by boos and jeers from various factions in the audience, some of whom shouted "no! no!" when the front of house manager advised that the box office should be contacted the following day for refunds as it had been closed for the evening. His brief speech was previously interrupted by noisy, talkative audience members which prompted other patrons to shout at them to "shut up!" so the f-o-h manager could be heard. 

Frankly it was bordering on chaos, but the Savoy Theatre staff were nothing but courteous and as helpful as their limited information allowed.

Given the apparent technical naivety of the production it was instantly puzzling as to what technical problem could have caused such an issue as to prompt the show's cancellation. Almost immediately rumours began circling that the issue was perhaps more to do with Smith herself and the media soon started commenting on these rumours.

It is unfortunate that the producers have allowed the very vague term "technical difficulties" to persist when a more exact explanation might have put paid to the rumours before they started.

It is, of course, greatly disappointing when a show is cancelled only half an hour into a performance as it's too short a notice in order to make other plans. It is also annoying when such efforts and costs have gone into a trip whose sole purpose was to visit the production. 

That said, it is always possible that technical issues can happen. Likewise it is always possible that a headlining star may have to pull out of a performance due to illness or other unforeseen circumstances (as was the case in the ENO's production of "Sunset Boulevard" that starred Glenn Close) and people are only human, after all.

I'd like to think that the rumours about Smith are only that and nothing more and that it was indeed a technical issue - whatever that may be - that prompted the unfortunate cancellation.

What adds salt to the wound is that some ticket vendors have been rather unhelpful in assisting affected audience members in obtaining refunds or exchanging the tickets (and given the limited number of tickets remaining this is an anxious issue for some) to the point where telephone lines have been extinguished.

A most unpleasant experience all told.

UPDATE 2/5/16:
There have been reports in the press regarding the alleged behaviour of Sheridan Smith at this particular performance and, if they were found to be true (which could possibly be substantiated by the various reports Stage Managers and Company Managers keep), it would prove to be a most upsetting turn of events. I can forgive a true "technical difficulty" but if a "star" is being disrespectful not only to her fellow cast members but also to the orchestra, crew and theatre staff - not to mention the PAYING AUDIENCE - then it is deeply disturbing and I sincerely believe that the producers, if the reports are indeed true, have a duty to provide every audience member with compensation.
It was bad enough trying to deal with the ticket vendors (in this case Ambassador Theatre Group) whose procedures and staff made the process a vexing experience and also a time consuming one.

"Thriller Live", Glasgow King's Theatre, 18/4/2016

Reviewed for Backstage Pass:

http://www.backstagepass.biz/2016/04/theatre-review-thriller-live-kings.html

It is no surprise that "Thriller Live" continues to thrive in London's West End given the strength of the material: The songs of Michael Jackson. What comes through (too) loud and (not quite) clear during the course of the production is how many varied hits the late artist actually had - that and the adoration he and his material elicit from others. Cynically one could look at this production as a glorified tribute act, albeit with top-notch production values, but it is certainly more than that. "Thriller Live" is a fitting tribute to the "King of Pop" performed as a quasi-chronological presentation of some of Jackson's most popular songs sung by four principal singers and a dance ensemble performing his unique style of choreography.

 

The concert style setting and lighting (by Jonathan Park and Nigel Catmur, respectively) creates a perfect environment, including video walls, in which to present some outstanding musical numbers although the costumes by Shooting Flowers, whilst obviously influenced by and reflecting the various looks of Jackson, leave something to be desired: There is certainly a case for designs attuned more to each individual performer. That said, some of the ensemble costumes, especially during the "Thriller" and "Bad" album sequences, are spot-on.

 

 

It is unfortunate that the sound mixing still requires work as the bass-heavy music overwhelm the vocals of the singers onstage. Given most of the voices featured exist in the Treble range it is surprising that the sound could be so clumsy.

The band itself are sharp: Not a single off-note and the arrangements are superbly performed.

 

Gary Lloyd's choreography echoed Jackson's authentically whilst he seamlessly weaves in his own work to compliment the pre-existing material. His direction, however, is a little lacking. There are times throughout where his staging becomes static and uninteresting, especially in the first act where the space is used to little advantage. Act two, however, springs into renewed life; no doubt because the material is from Jackson's most successful period - the "Thriller" and "Bad" albums. Here the staging and choreography become intensely dynamic, almost verging on becoming full-blown musical numbers and it is here that the show coalesces into a complete whole and works perfectly.

Every now and then a little dialogue on the history of Jackson and his career is presented but this is nothing more than filler material for the most part and frankly wouldn't be missed if excised. All told, given that so much musical material is crammed into two and a half hours, the show does feel a bit long in both acts and wouldn't suffer from a little trimming here and there.

 

The company are nothing short of excellent and each ensemble dancer is able to present themselves both as an individual dancer and as part of a core of tightly drilled dancers performing in unison. It is also refreshing to see a company of performers who look age-appropriate.                    

When not drowned out by the band the four singers (Angelica Allen, Adam J Bernard, Shaquille Hemmans and Rory Taylor) soar almost effortlessly and do due justice to Jackson's original vocal stylings although many of the lyrics are lost in the wall of sound. But, occasionally, a singer - Taylor especially - is able to punch through the bombast and leave an impression and Taylor's solo number "She's Out Of My Life" is one of the many highlights.

 

When dance and vocal performances gel it is truly an excitingly thrilling experience and there is many a time throughout the show when this is the case.

One of the better concerts-for-theatre "Thriller Live" is a great reminder of the dynamic force that was Michael Jackson and is a surprisingly energising show that creates something akin to a party atmosphere amongst an audience ready and willing to lap up the pure Michael Jackson energy produced.

"Priscilla Queen of the Desert", King's Theatre, Glasgow, 29/3/16

Written for Backstage Pass
http://www.backstagepass.biz/2016/03/theatre-review-priscilla-queen-of.html?m=1

 Ostensibly an adaptation of the movie, "The Adventures of Priscilla Queen of the Desert", this colourful and exuberant musical utilises pre-existing songs and elements of the most exquisite Australian drag show to create a production that is exciting, entertaining and thoroughly engaging.

We follow Sydney drag artist "Tick/Mitzi" (Duncan James) who is engaged by his secret wife to bring his act to the middle of Australia, bringing along two fellow performers; the outrageous "Adam/Felicia" (Adam Bailey) and transsexual former "Les Girl", "Bernadette" (Simon Green). Traveling across the outback in the eponymous bus, they encounter positive and negative reactions towards them from various factions as they travel to the 'heart of fabulous'; discovering love for each other and for themselves along the way.

The current tour captures the essential brilliance of the London West End production - albeit in a typically slightly reduced form (common for UK tours given the venues available) - and the direction of Simon Phillips (reproduced here by James Capewell) stands up strong, as does the book by Stephen Elliot (writer and director of the original film) and Allan Scott. With energetic choreography by Ross Coleman & Andrew Hallsworth and the stunning Tony-winning costumes of Tim Chappel and Lizzy Gardiner (based on their original, Oscar-winning, designs) "Priscilla" is a show with never a dull moment and even the design, adapted from Brian Thomson's original, is colourful and humorous.

Credit must also be given to the orchestrator/arranger Stephen 'Spud' Murphy (& Charlie Hull) for making the eclectic songs gel as a musical score, working to the benefit of the plot (as opposed to many a musical of the juke-box variety) whilst ensuring the musical material functions as an essential part of the show.

The cast is more than ably led by the trio of Adam Bailey as "Adam" and Simon Green as "Bernadette" who play polar opposites and exude energy and unexpected emotion whilst Former "Blue" member Duncan James is really quite a revelation in the part of "Tick", a role he clearly relishes. 

The ensemble is a thoroughly integral part of the show and there is not a single weak link. Indeed there is much to enjoy from the company; the ensemble dancers; the glorious "Divas" of Lisa-Marie Holmes, Laura Mansell and Catherine Mort through to the cameo roles including "Bob" (a pleasantly underplayed Philip Childs); the "Miss Understanding" of Matt Crandon and, of course, the saucy "Cynthia" of Julie Yammanee. Throughout the production there are many moments where the ensemble and its various members are given a chance to shine.

It's true that some of the choreography could do with tightening in places and it is a shame that the production sometimes feels shoe-horned into a theatre really too small for it given there are various elements of the production that have had to be adapted, and even omitted, for the relatively small King's Theatre. That said, the show remains outrageously entertaining and it is no surprise that this production has been spruced up and revived for another tour and it remains one of those musicals that serve as a positive tonic to modern life, ensuring that every audience member leaves with a huge smile upon their face. Fabulous!!

Tengwar